Tag Archives: Melbourne International Jazz Festival 2012

I have a soft spot for nostalgia. I cling on to the familiar. In the jazz scene this year there have been some momentous changes, and I find it all too easy to wish things could stay as they have been.

When Adrian Jackson parted ways with Stonnington’s annual festival of Australian jazz, handing the artistic direction to a committee, I felt the resulting program had lost focus and lacked that special frisson that had been there when performers were brought together in unexpected and exciting combinations.

This year Adrian announced that he would not be retaining that role with the Wangaratta Festival of Jazz and Blues. Along with many musicians and fans of this wonderful weekend gathering, I deeply regretted this change and pined for a return to the status quo — a return, if you like, to the security of knowing that whatever budget constraints would assail the festival, there would still be the excitement of the unexpected.

Yet, also along with many diehard fans and musicians I suspect, the dawning realisation that Wangaratta in 2017 would be minus AJ (at least in his artistic director role) was tempered by the news that the festival’s “Programming Team” would include Melbourne’s Adam Simmons and SIMA’s Zoe Hauptmann. They have big shoes to fill, but their creativity and dedication to improvised music is undeniable. The unexpected, we hope, can be expected.

The final night at Bennetts Lane Jazz Club in February 2017.

In Melbourne, the Lazarus-like and, yes, iconic jazz venue Bennetts Lane closed its doors for the last time on February. When it closed for the first time I was overseas, but I heard that the farewell party then was a humdinger.

This year’s closure was a relatively quiet affair. As I left this wonderfully welcoming repository of live music, Megan Evans mentioned there were old posters by the door. I took home a large image of pianist Tim Stevens, which was a comfort.

My nostalgia and sense of loss was tempered by a few factors. Again change could not be arrested. And I was reminded of trumpah aficionado extraordinaire Scott Tinkler‘s blunt exhortation after Bennetts closed the first time: Get over it, there are many other venues for live, improvised music — Sonny’s Uptown Jazz Cafe, Paris Cat, The Brunswick Green, Lebowskis, 303 Northcote, Bar Open’s Make It Up Club, Bella Union to name just a few.

As well, we knew that new venues were on the way. Meg would be carrying the Bennetts Lane torch forward into a new city venue owned by David Marriner, at a date to be announced, but not early enough for this year’s Melbourne International Jazz Festival.

Michael Tortoni makes some final tweaks to The Jazzlab.

And — we finally get to the point of this post — Michael Tortoni would be opening a new haunt for music hangs in a well-tuned warehouse in Leslie Street, Brunswick. Conveniently for Michael, artistic director of the MIJF, The Jazzlab will open in time to be one of the festival venues.

Jeremy before the bar opens.

The icing on the cake — though he hardly fits that description — is that our much-loved Jeremy Jankie of Bennetts Lane fame will be behind the bar at The Jazzlab.

I had a preview of this venue this week and all the signs are auspicious. It has the feel of the small room at Bennetts Lane (great feel, great acoustics) only larger.

Better still, my nostalgia can have free rein. The chairs are familiar. The tables are familiar. The wall clock is familiar. The stools are familiar (although much more comfortable now that they have been reupholstered). And the format is familiar. Patrons will be able find the bar with ease.

And what of the staircase, a valuable haunt at Bennetts Lane for photographers who wanted an elevated vantage point in a crowded room? Well, The Jazzlab’s stairs are much nicer, but I’m sceptical about photographers using them — we’d be on centre stage and under lights.

Expect musicians to descend the stairs, but don’t ask what they were doing up there. It’s hush hush.

Outside Tortoni’s warehouse Jazzlab there are signs of what’s to come. An acoustic bass appears on a nearby corner and a violinist sits atop the building.

Inside, behind the familiar tables, chairs and stools, there will be standing room. And that’s where you come in.

It’s “Doors 8pm, Music 9pm” for Fem Belling‘s quartet on Friday 7 April, followed by The Rookies from midnight.

Roger Mitchell

Familiar tables, familiar chairs.

An honour system: grab a bottle as you enter Jazzlab.

The opening gigs for 2017

Errki Veltheim eat your heart out, but what’s that dish on the end of my bow?

Ausjazz blog picks some highlights from the 2012 Melbourne International Jazz Festival:

A festival highlight: Haaken Mjasset Johansen with Motif from Norway.

All up, Ausjazz went to all or part of 15 MIJF gigs this year. This is an attempt to pick out some highlights, though there will be posts about individual concerts when time permits. A few explanatory notes: First, I chose not to review the Opening Gala: The Way You Look Tonight or the final evening’s Dee Dee Bridgewater Sings, because those concerts were not my cup of tea. That is not any reflection on the musicians involved.

Second, for reasons beyond my control I could not make any gigs from Monday, June 4 to Wednesday, June 6 inclusive. Again, that had nothing to do with the calibre of the music on offer. Third, I did not make it to any of the master classes, though I have heard from many who did that these were definite highlights.

Of the concerts I attended, there were none that I did not enjoy — perhaps I am easily pleased, but I believe this festival followed the usual rule by delivering more delights than may have been anticipated upon first glance at the program. It was not too adventurous — certainly not as “out there” as recent years under the direction of Sophie Brous. I did miss that aspect. The most experimental outings were Peter Knight‘s Fish Boast of Fishing and Andrea Keller‘s work with Genevieve Lacey and Joe Talia — both at the Melbourne Recital Centre’s Salon and both involving Australian artists. From overseas, the Robert Glasper Experiment strayed from the conventional, as did the Norwegian quintet Motif, but the latter was the standout of these two for me.

Before I discuss highlights, it’s probably worth exploring the value or otherwise of reviews. Unlike reviews of opening night stage productions, with MIJF commentary there is in most cases no season ahead in which potential punters can decide to go or not go on the basis of what’s written. Most concerts are unrepeated or already sold out before reviews hit the airwaves, streets or online haunts. I see reviews as one way to build an archive or record of what a festival has succeeded in delivering. That record may provide some context to those who attended various concerts or merely arouse the interest of readers who may seek out that music in some form later, possibly even live if the artist or band returns.

So, in consecutive order by date rather than any (futile) rating, my highlights were as follows: I found Bernie McGann‘s quartet at Bennetts Lane on the opening Friday night deeply satisfying, not only because of McGann’s saxophone work, but because of what the other players in the band — Marc Hannaford, Phillip Rex and Dave Beck — contributed.

On the following night, at the same venue, Murphy’s Law impressed with Tamara Murphy‘s suite “Big Creatures Little Creatures”. At The Forum later that evening, the Jazzgroove Mothership Orchestra showed its class with visiting saxophonist Chris Potter, but the standouts for me were the Andy Fiddes composition Gathering Momentum, some trumpet excellence from Phil Slater in the third piece (the name of which I did not catch) and Potter’s darker sax in the encore Rumination. Later still, back at Bennetts Lane, the Eli Degibri Quartet from Israel had a smooth fluidity and swing that definitely had me wanting more, especially from the 16-year-old pianist Gadi Lehavri.

What can I say about McCoy Tyner‘s concert on Sunday in the Melbourne Town Hall? The only basis I have for comparing the pianist now with his illustrious past playing is via recordings, and on that basis he is not quite in that league now. And I think Jose James could not act as a substitute for Johnny Hartman. I enjoyed the outing, and I don’t see much point in comparisons when you have a chance to hear a musician of Tyner’s stature. But this was not a festival highlight for me.

By contrast, Terence Blanchard‘s quintet on Thursday at Melbourne Recital Centre was a real standout. It’s definitely no criticism of Rob Burke, Tony Gould, Tony Floyd and Nick Haywood, who opened this gig, but I did think as Blanchard’s band opened with Derrick’s Choice that a band with a local trumpeter such as Scott Tinkler or Phil Slater would have been ideal.

In the quintet’s set I would have been satisfied just to hear Fabian Almazan‘s contribution on piano, but Blanchard’s playing was inventive, fluid and piercingly penetrating, with sampled audio from Dr Cornel West and some echo among the special effects. Blanchard’s tone did not really dig into the guttural until shortly before the inevitable encore and his sound was not as fat as I’d expected. Brice Winston on tenor sax was superb in the Almazan piece Pet Step Sitter’s Theme.

In terms of musicianship, Renaud Garcia-Fons on bass with the Arcoluz Trio at the MRC on Friday night stood out. I’d regretted having to miss the solo bass gig at Bennetts Lane mid week, but in a way this trio concert was a vehicle for Garcia-Fons to show his amazing talents. On his five-stringed instrument Garcia-Fons uses a range of techniques with and without bow, recalling Barre Phillips‘ solo performance at Wangaratta Jazz last year, but it’s a totally different experience. I could only marvel at Garcia-Fons’s skill, but, by contrast with Phillips, his music lacked the tension and resolution (or lack of it) that is so compelling in jazz improvisation. Also, I would have liked to hear more from Kiko Rulz on flamenco guitar, who in brief bursts only whetted my appetite to hear more. I could not help but wish that Pascal Rollando on percussion would contribute more fire and inventiveness. That said, this concert was a highlight.

Even more so was Dr Lonnie Smith in his trio with Jonathan Kreisberg on guitar and Jamire Williams on drums at Bennetts Lane late on Friday. I love the Hammond B3 and Smith was enjoying every moment of his time on Tim Neal‘s beautiful instrument. This was a therapeutic experience and just what the Doctor ordered for me. Kreisberg’s playing was exciting and intense, and the organ was just a thrill and a joy to hear. The notes from a Hammond can be felt deep in the body and seem to free the spirit. I’ll be hanging out for Smith’s new album, Healer, due in a few weeks. But an album is not the same as being there and feeling the B3 vibrations at close quarters.

OK, I’m waxing too lyrical. On the second Saturday of the festival I made it to four gigs. Peter Knight and his ensemble’s Fish Boast of Fishing at the Salon, MRC, took me out of my comfort zone and into an emerging, growing, developing experience in which I felt there was a contradiction of sorts. There was definitely tension. There was complexity and coordination in the way sounds were produced, but when I closed my eyes the experience was of something organic, almost living and breathing. Perhaps that was the point.

Norwegian band Motif

Next came another real highlight for me and I would have missed it if I had not had a recommendation from ABC presenter Jessica Nicholas. The Norwegian outfit Motif was a standout. I always think European bands can be counted on to bring something significantly different to their music and Motif was no exception. This was intelligent, quirky and engrossing jazz, with extreme variations in dynamics and pretty well anything you could imagine. There was ferocity and solemnity. There was pandemonium and space. What a hoot! This was the night’s highlight. There was another great set to follow I’m sure. It was hard to leave.

But Tarbaby at the Comedy Theatre — with Oliver Lake on alto sax, Eric Revis on bass, Orrin Evans on piano and Nasheet Waits on drums — served up a set of take-no-prisoners hard-driving jazz. This was a top rhythm section that took me full circle back to the Bernie McGann concert at the festival’s start. Apart from Lake’s robust playing, what I loved most was Evans’s command of the piano in Paul Motian‘s Abacus. This set would have topped the night for me, but I still had Motif ringing in my consciousness and I wasn’t letting that go in a hurry.

I did queue up for a long, cold wait to hear some of the Robert Glasper Experiment, but it was too hi-tech for me. I just wanted to chill and listen to Glasper on piano, but the crowd at Bennetts Lane was all fired up. They probably had a highlight at this outing, but not me.

On Sunday, the final night, I caught the first set of Sandy Evans with Toby Hall and Lloyd Swanton. It was the perfect wind-down.

All in all, there was plenty to get excited about in the MIJF 2012. The crowds were out listening to live music and many venues seemed to be full.

Next year? Well, maybe a few more European bands and a little more experimentation. But, after all, there is the Melbourne Jazz Fringe Festival for that.

This was a festival standout for me and a thoroughly therapeutic experience. Right now I’m just posting some images. The B3 was Tim Neal’s lovely old instrument. Dr Lonnie Smith’s trio played four gigs over two consecutive nights as part of the festival’s Club Sessions. Mal Stanley from ABC radio’s Jazztrack recorded both sessions on the Thursday, so a selection from that material will go to air at some stage. Smith also gave a master class on Thursday, June 7. Unfortunately I was (public service phrase) not in a position to get any pictures of Jamire Williams.

ROGER MITCHELL

Sally Rochlin announces the trio at Bennetts and does the mobile phone thing.